Wandering in and out of this mindless tedium in a dreamlike trance mumbling stuff like “Any experience is better than no experience,” Rooney Mara is back to her weird Goth routine from The Girl With the Dragon Tattoo, wearing an ugly wig of a different color in every scene, in a formless, tasteless gumbo of overlapping lives on the periphery of the Austin music scene, where lost, empty people wander around like zombies from bed to bed and song to song (hence the title, get it?). Not one of them is real enough to show up in an MRI, or interesting enough to sustain curiosity or keep you awake, but the three most often pointlessly photographed are songwriter Ryan Gosling, record producer Michael Fassbender, and wannabe pop star Mara, who first try a three-way love affair, then without anything that resembles even a shred of a plot, they all start sleeping around—Fassbender with Natalie Portman as a local waitress in a bleach blonde wig, Gosling with a series of unknown groupies who all look alike, Rooney with a lesbian who enacts a series of modified and simulated sex scenes so awkward and phony they evoke laughter instead of titillation. (“I played with it. I played with the flame of life,” she mutters in the offscreen narration that passes for dialogue.) Proving, I guess, that you can take the girl out of Carol, but you can’t take Carol out of the girl. After an hour and a half, Cate Blanchett shows up, hits the sheets with Gosling without removing so much as a mink eyelash, says a total of four lines without wincing, and disappears forever. Some people have all the luck.

It looks like a bleached blonde wig to us, unfortunately, but we reckon Kendall could pull off the look full-time if she so desired. Just look at that pretty face.